Francois Truffaut's New Wave romantic drama, based
on Henri-Pierre Roché's semi-autobiographical novel, told
of a doomed love triangle from 1912 to the early 1930s between:

free-spirited French illustrator Catherine (Jeanne
Moreau)

extroverted, French-born, returning WWI soldier
Jim (Henri Serre)

quiet, naive and conservative Austrian writer Jules
(Oskar Werner)

A kiss between Jim and Catherine was accompanied by
dissolving images of Catherine in bed, and the narrator's words: "Their
first kiss lasted all night." Although there was love between
all of them, Catherine married Jules and they lived in an Austrian
chalet by the Rhine countryside.

After the intervention of WWI, when the two men fought
on opposite sides of the conflict, Jim reacquainted himself with
Catherine and Jules, who now had a five year-old daughter named Sabine
(Sabine Haudepin). However, the marriage was in disrepair, and Catherine
was briefly romancing Jim. Jules even offered her a divorce if she'd
marry Jim, so that they could all still be together, and he would
share her vicariously.

As Catherine kissed husband Jules, they talked about
their changing love:

Catherine: "We were really happy together,
weren't we?"
Jules: "We still are. At least, I am."
Catherine: "Really? Yes, we'll stay together always, like
an old couple, with Sabine and our grandchildren. Keep me close
to you."

Director Stanley Kubrick's scandalous and controversial
film based upon Vladimir Nabokov's novel was actually a comedic drama
about a middle-aged man's pitiable obsession with a precocious teenaged
girl (in the book, she was only a 12 year-old 'nymphet').

In a night-time scene set in Ramsdale, New Hampshire
where devious boarder and teacher Humbert Humbert (James Mason) demonstrated
his growing obsession with young nymphet Dolores 'Lolita' Haze (Sue
Lyons), he played chess with her mother Charlotte Haze (Shelley Winters),
when 'Lolita' strolled into the living room wearing a full length
nightgown.

Charlotte was worried - symbolically: "You're
going to take my Queen!" He replied, expectedly: "That
is my intention, certainly." Lolita leaned on the arm of his
chair next to him, and then murmured: "G'night." She kissed
her mother on the cheek and then nuzzled cheek to cheek next to Humbert
before leaving to go upstairs. Humbert immediately took Charlotte's
Queen in his next move: "It had to happen sometime" - he
quipped.

Humbert also received a goodbye hug and half-kiss in
the upstairs hallway when Lolita was leaving for summer camp 200
miles away, when she memorably told him along with a half-wink: "Well,
I guess I won't be seeing you again, huh?...Then I guess this is
goodbye. Don't forget me." Soon after, to be near Charlotte's
seductive child so that he could proceed with his nymphetomania,
Humbert realized that he must marry Charlotte.

Charlotte's untimely death meant Humbert would be her
sole guardian, and he drove the Haze station wagon to pick her up
from summer camp. When he confessed his love for the not-so-naive
Lolita, she responded: "You haven't even kissed me yet, have
you?" After staying the night in a hotel, although Humbert slept
on a separate cot, she initiated sex with him the following morning.
She coquettishly suggested playing a game that she had learned at
camp, while seductively twirling the hair on his head with her finger,
but the screen discreetly faded to black (to blunt the story and
please the censors).

The major character in John Frankenheimer's classic
political thriller was Sgt. Raymond Shaw (Laurence
Harvey), who was backed by his corrupt, monstrous and perverse maternal
figure, Mrs. Eleanor Shaw Iselin (Angela Lansbury). She had an insatiable
lust for power, describing the task and arrangements for him while seated
next to his wife Jocie Jordan's (Leslie
Parrish) giant Queen of Diamonds costume.

She explained how his mission
was to assassinate the Presidential nominee during the political convention
- a catastrophe that would advance Raymond's step-father Senator John
Iselin's (James Gregory) political career and pave the way for a legal
takeover of the White House. She described her motivations:

I fought for them. I'm on the point of winning for them
the greatest foothold they would ever have in this country. And they
paid me back by taking your soul away from you. I told them to build
me an assassin. I wanted a killer from a world filled with killers
and they chose you because they thought it would bind me closer to
them. But now, we have come almost to the end. One last step. And then when
I take power, they will be pulled down and ground into dirt for what
they did to you. And what they did in so contemptuously under-estimating
me.

As a symbol of her sincerity and love,
she held both sides of his face with her outstretched claw-like fingers
while smothering him with kisses on his forehead and right cheek. She
ended with a seductive, incestuous warm kiss on his lips

In the middle of a lengthy discussion in her apartment
about their lives, she asked whether he was "peculiar" or
"queer" - he proved that he wasn't with a passionate smooch:

Mosca: "But what do you think, I'm peculiar
or something? Hey, are you?"
Ryan: "Am I what?"
Mosca: "Queer."
Ryan: (He turned and walked over to her) "Now you've gone
too far." (He kissed her)
Mosca: "Brother, how long have you been on the wagon?"
Ryan: "A year."
Mosca: "Where ya been, in jail? (after another lengthy kiss)
Look, let's not get all worked up, huh? You go have a cookie and
calm down, and then you better go."
Ryan: "Go? Why? Was that the wrong false move?"
Mosca: "No, Jerry. Oh look, I got an iron-clad rule. I wouldn't
sleep with Christopher Columbus on the first date. What do you
want me to be, promiscuous? Aw, besides, this-this routine you've
been givin' me. If you wanted to be turned down, you couldn't have
planned it better. You're testing, how do you like that? And you
know who you're testing? Not me. You wanna find out how you feel.
That's a make!? Why should I hop in the hay with ya, a cure for
your health for a fella I don't even know what's eating him? I
tell you my whole life story practically, and what do I hear out
of you? No news at all."
Ryan: "All right, The news is very sparse, but here it is.
I had a job, a house, a marriage and a life. They all went sour
on me. So much for the past..."

Ian Fleming's 1957 novel (his fifth) was the basis
for this second James Bond spy-thriller in the series. The 007 agent,
SPECTRE's target for killing Dr. No in the first film, was dispatched
to Turkey.

Corporal Tatiana ("Tania") Romanova (Daniela
Bianchi), a Soviet consulate cipher clerk, employed in a SPECTRE
plot to kill Bond (Sean Connery), first encountered the 007 agent
in his Istanbul, Turkey hotel suite one evening. She awaited him
naked in bed (wearing only a sexy black velvet choker), and was pretending
to defect and claimed she was in love with him.

After being introduced, he complimented her on her
beauty, but she confessed: "I think my mouth is too big." Bond
replied, before kissing her: "No, it's the right size. For me,
that is." There was a large close-up of her inviting red lipsticked
lips, behind which she slightly moved her tongue.

Bond approached for a kiss, and afterwards as they
continued kissing, he asked: "Yes. Is it here?...The decoding
machine. The Lektor." In regards to the cryptographic device,
she replied: "Must we talk about it now?"

He nuzzled her neck and persisted: "Or is it at
the Russian Consulate?" She was frustrated by his single-minded
approach: "Why don't you ask me that later?", and hugged
him.

When he told her: "I hope you're not disappointed," she
promised as she sank back on the pillow: "I will tell you in
the morning." He swooped in for another kiss. He was unaware
that the two of them were being filmed by SPECTRE assassin Donald "Red" Grant
(Robert Shaw) and evil SPECTRE No. 3 Colonel Rosa Klebb (Lotte Lenya)
through a one-way mirror at the head of the bed to create a sex scandal.

Kiss (1963)

Non-stop
Kissing

Andy Warhol's 54 minute underground 16 mm. experimental
film consisted entirely of a series or montage of shorter (approx.
3 minute) films spliced together of various couples (of various sexes)
kissing.

Each segment was filmed in long takes. Sometimes the
gender of a kisser was undetermined.

Ian Fleming's 1959 novel (his seventh) was the basis
for this third James Bond spy-thriller in the series.

Lesbian-leaning blonde Pussy Galore (Honor Blackman),
aptly named, was the personal pilot for gold-obsessed villain Auric
Goldfinger (Gert Frobe). She was one of a team of all-female pilots
dubbed Pussy Galore's Flying Circus. She often took a stance with
her hands on hips, and when she took agent 007 James Bond (Sean Connery)
on a tour of Goldfinger's compound and horse stable, he decided to
offer his manly charms to her:

Bond: "You're quite a girl, Pussy." (He
grabbed her) "What would it take for you to see things
my way?"
Pussy: (resisting) "A lot more than you've got."
Bond: "How do you know?"
Pussy: (rejecting his heterosexual advances): "I don't want
to know."
Bond: (forcefully pulling her to himself) "Isn't it customary
to grant the condemned man his last request?"
Pussy: (aggressively) "You've asked for this!"

She took his arm and flipped him onto the hay, and
then commanded: "Get up!" He up-ended her, and she landed
next to him. He responded: "Certainly," stood up, and extended
his hand to her, and then flipped her a short distance further into
more hay, while quipping: "There, now let's both play."

She briefly held him off by wrestling against him,
but then surrendered herself to his overpowering male sex appeal
as he lowered himself down onto her and kissed her.

By film's end after she had helped save Bond and defeated
Goldfinger's mad plot, they parachuted together to safety from a
crashing jet plane due to rapid decompression (after Goldfinger's
death when sucked out a window). Bond told her that she shouldn't
signal for help from a search helicopter as he pulled her onto the
ground: "Oh no, you don't! This is no time to be rescued." He
covered the two of them with the parachute - for privacy's sake,
as they kissed some more.

Marnie (1964)

Catatonic,
Passionless Honeymoon Kiss

Winston Graham's 1961 English novel was the basis for
director Alfred Hitchcock's psychosexual suspense-thriller, a tale
of sexual perversity and obsession, about a suicidal and troubled
female suffering from compulsive kleptomania and sexual frigidity
(and problems with the color red), caused by a traumatic event from
her past.

In a hotly debated scene, frigid con artist/thief Marnie/Mary
Edgar (icy blonde Tippi Hedren) was on a honeymoon cruise to Fiji,
after a hasty (blackmailed) marriage to her boss and new husband
Mark Rutland (James Bond co-star Sean Connery). Sharing a cabin together,
she was locked up in the bathroom for over 45 minutes, and Mark thought
they were off to a "dangerously poor start." When she appeared,
he said she looked "sexy" with her face cleaned. But she
was unwilling to kiss him when he turned her mouth toward him - she
ran off: "I can't! I can't! I can't!...If you touch me again,
I'll die!" She explained that she thought marriage was degrading
and animalistic:

Marnie: "Can't you understand? Isn't it plain
enough? I cannot bear to be handled."
Mark: "By anybody? Or just me?"
Marnie: "You. Men!"
Mark: "Really? You didn't seem to mind at my office that day,
or at the stables. And all this last week, I've, uh, handled you.
Kissed you many times. Why didn't you break out in a cold sweat
and back into a corner then?"

Although he gave his word that he wouldn't demand sex
from her (and that they would sleep in separate beds), he was - after
a few days - unable to hold back his desire to sleep with her and
have sex ("I very much want to go to bed") - and he ripped
off Marnie's nightgown one evening (the silky garment fell to her
feet). But then he stumbled out with an apology ("I'm sorry,
Marnie"), and covered her nakedness with his robe.

He slowly drew her forward and hungrily kissed and
embraced her - they were amorous advances which she did not return,
as she rigidly stared ahead passively and coldly in a frozen, paralyzed,
catatonic state.

She laid down on the bed and allowed him to lie on
top of her and have her (his and her faces filled the entire screen
and then the camera panned away to a porthole), but with no emotion
nor passion for her, leaving the question open as to whether she
wanted to have sex but was frigid, or was being passively raped.

In this heartbreaking and tragic cinematic opera/love
story about star-crossed lovers set in 1957 Normandy, France, all
of the dialogue was sung with a memorable musical score by composer
Michel Legrand (including the ubiquitous love theme "I Will
Wait for You").

Before he left on a train to fight in the Algerian
War and not return for two years, the couple spent their last night
together in the town of Cherbourg, where they professed their teenaged,
emotional love in wonderful duet-singing while sitting in a cafe
and walking arm in arm in the street:

Guy: "We have so little time left. So little
time, my love, and we mustn't waste it. We must try to be happy.
Of our last moments, we must keep a memory more beautiful than
anything. A memory to help us live."
Genevieve: "I'm so afraid when I'm alone."
Guy: "We'll be together again, and we'll be stronger."
Genevieve: "You'll meet other women - you'll forget me."
Guy: "I will love you until the end of my life."
Genevieve: "Guy, I love you. Don't leave me! (They kissed
in an alleyway.) My love, don't leave me."

When she confided that she was afraid, he confessed
his love for her and they kissed again in front of a mirror in his
aunt's apartment. They made love (and she became pregnant and gave
birth during his time of service), and the love-sick Genevieve bid
him farewell at the train station.

In the film's poignant and bittersweet conclusion five
years later, the two married individuals (to different partners)
had a chance meeting at his Esso gas station in Cherbourg - where
Guy saw his daughter Francoise for the first time.

Producer/director Robert Wise and 20th Century Fox
musical has become one of the most favorite, beloved films of moviegoers.
It is a joyous, uplifting, three-hour adaptation of Richard Rodgers
and Oscar Hammerstein II's 1959 hit Broadway stage musical (that
starred Mary Martin).

Young adolescents met in the bluish light of the evening,
in the garden near the pavilion:

17 year-old boyfriend Rolf (Daniel Truhitte)

16 year-old Liesl von Trapp (Charmian Carr)

She had snuck outdoors to meet her shy boyfriend who
was waiting for her. They sang of their innocent young, adolescent
love on the brink of adulthood: "Sixteen Going on Seventeen," especially
since Liesl was only 16, but was wishing to assert herself.

(Liesl) I am sixteen, going on seventeen. I know
that I'm naive.
Fellows I meet may tell me I'm sweet, and willingly I believe.
I am sixteen, going on seventeen, innocent as a rose...
Totally unprepared am I, to face a world of men.
Timid and shy and scared am I, of things beyond my kin.
I need someone older and wiser telling me what to do.
You are seventeen, going on eighteen. I'll depend on you.

Thunder, lightning and rain forced them into the shelter
of the gazebo where they continued singing and dancing in a magical
sequence.

At the conclusion of their duet, they finally kissed
just once to their mutual surprise - in reaction, Rolf raced rapturously
from the gazebo, while Liesl exclaimed triumphantly with her arms
outstretched: "Whee!"

The second major kiss in the beloved musical was between
the two main adult characters, also in the gazebo. After breaking
off his engagement with wealthy Austrian Baroness Elsa Schraeder
(Eleanor Parker), widowed father Captain Von Trapp (Christopher Plummer)
followed after despairing and confused postulant nun/governess Maria
(Julie Andrews) by the pavilion and asked two questions:

"Why did you run away to the Abbey?"

"What was it that made you come back?"

According to Maria, she "had an obligation to
fulfill and I came back to fulfill it...And I missed the children." He
explained that "nothing was the same"
when she was away and "it'll be all wrong again" after she
leaves again. He attempted to persuade her to change her mind and stay
longer. And then he told her that his engagement to the Baroness was
off:

"There isn't going to be any Baroness...well,
we've, uhm, called off our engagement, you see...Well, you can't
marry someone when you're in love with someone else. Can you?"

He held her tenderly by the chin and drew her lips
nearer for a kiss. Relieved, Maria had her prayers answered:

Maria: "The Reverend Mother always says,
'when the Lord closes a door, somewhere he opens a window'."
Captain: "What else does the Reverend Mother say?"
Maria: "That you have to look for your life."
Captain: "Is that why you came back?" (She nodded) And
have you found it Maria?
Maria: "I think I have. I know I have."
Captain: "I love you."
Maria: "Oh, can this be happening to me?"

As they were reunited and now free to express their
love, they both sang:
"Something Good" - about being rewarded for something good
they did in the past. Soon after, they were married.